Tony Bennett With Ralph Sharon Orch‎– At Carnegie Hall Recorded Live June 9, 1962 - Analogue Productions - Audiophile 200 Grm 2LP

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Tony Bennett With Ralph Sharon And His Orchestra ‎– At Carnegie Hall Recorded Live June 9, 1962

Analogue Productions ‎– APP 823, Columbia ‎– C2S 823, Sony Music ‎– 88843056191
2 × Vinyl, LP, Album, Reissue, Remastered, Stereo, 180g, Gatefold

Mastered by Ryan Smith at Sterling Sound from the original analog 3-track tapes
180-gram double LP plated and pressed at Quality Record Pressings
Deluxe "old style" tip-on heavyweight gatefold jackets by Stoughton Printing featuring original studio photography expanded and enhanced
Jazz, Pop
Vocal, Ballad, Swing


Part I
A1 Lullaby Of Broadway 2:05
A2 Just In Time 4:00
A3 All The Things You Are 3:00
A4 Stranger In Paradise 2:57
A5 Love Is Here To Stay 2:09
A6 Climb Ev'ry Mountain 2:08
A7 Ol' Man River 2:48


B1 It Amazes Me 2:51
B2 Firefly 1:03
B3 In San Francisco 2:37
B4 How About You 1:00
B5 April In Paris 1:11
B6 Solitude 3:29
B7 I'm Just A Lucky So And So 2:15
Part II


C1 Always 1:39
C2 Anything Goes 1:27
C3 Blue Velvet 2:23
C4 Rags To Riches 1:07
C5 Because Of You 1:36
C6 What Good Does It Do 3:23
C7 Lost In The Stars 3:06
C8 One For My Baby 2:25


D1 Lazy Afternoon 2:44
D2 Sing You Sinners 1:30
D3 Love Look Away 2:20
D4 Sometimes I'm Happy 2:22
D5 My Heart Tells Me 2:22
D6 De Glory Road 8:00



Companies, etc.
Recorded At – Carnegie Hall
Remastered At – Sterling Sound
Pressed By – Quality Record Pressings
Manufactured For – Analogue Productions
Manufactured By – Sony Music Entertainment
Copyright (c) – Columbia Records
Phonographic Copyright (p) – Columbia Records
Photography By – Henry Parker
Producer – Ernie Altschuler
Remastered By – Ryan Smith (2)
Identical release to At Carnegie Hall Recorded Live June 9, 1962 but with 180g pressings.

( the Absolute Sound) " Wow. That’s about all I could muster when I first heard this stunning LP reissue. And yes, I plead a baffling ignorance to its existence, which makes me (and anyone else hearing them for the first time) especially lucky to finally discover these sides. Recorded on June 9, 1962, it showcases Tony Bennett in peak vocal form, elegantly accompanied by the Ralph Sharon Orchestra. As Sharon’s liner notes explain, the evening represented a bold shift in Bennett’s career, shifting from TV and nightclub slots to Carnegie Hall. The 28 songs unfold as naturally as breathing, and listing the more famous ones, such as “I Left My Heart in San Francisco,” “April in Paris,” “Blue Velvet,” and “One for My Baby,” in no way diminishes the brilliant program presented that night. The sound here, as mastered from the original 3-track masters by Ryan Smith at Sterling Sound, is as fabulous as the music. The balance between Bennett and the orchestra is near perfect, with a lively sense of air, space, and dynamic snap. The Columbia engineers captured Bennett’s voice and the instruments with the relaxed naturalness they created on this stellar evening, with an immediacy that rather magically brings the entire concert home"

Analoge planet "Bennett's long time accompanist Ralph Sharon from whom he's now estranged and who leads his orchestra on this live recording, introduced Bennett to the song, which was written by his composer-friends George Corey and Douglass Cross. In December of 1961 Bennett first sang it in The Venetian Room of San Francisco's Fairmont Hotel.

Bennett had released well over a dozen albums (including three with The Count Basie Orchestra, one of which was a live performance) when he appeared at Carnegie Hall on the evening of June, 9th, 1962 backed by The Ralph Sharon Orchestra, in a show directed by Arthur Penn ("Bonnie and Clyde", "The Miracle Worker", "Alice's Restaurant", etc) and Gene Saks ("Barefoot in the Park", "The Odd Couple" and many Neil Simon plays). The 20 piece orchestra included ample brass and string sections, Sharon's longtime trio drummer Billy Exner, guitarist Kenny Burrell and Candido Camero on bongos and conga.

Recording engineers their due, here Frank Laico finally gets his name in print as does the tape engineer, the remote equipment supervisor, and even the tape editor gets named. The microphones are identified (Bennett's was a Schoeps) as was the recording tape (1/2" 3-track MMM (3M) 120 High Output).

And deserve the credit they did! The original of this double LP set was a sonic spectacular that now sounds veiled and somewhat distant compared to this stupidly, insanely spectacular sounding reissue cut for the first time from the edited original 3-track tape. Two recorders were utilized, probably either one for backup or for when reels were about to run out of tape. mn him!) as he runs through many of his hits, some Broadway tunes and a few oddities.

The opener, "Lullaby of Broadway" with Candido pounding away on his bongos and the crowd going crazy from the get go , sets the tone for the performance and the audience's enthusiast reaction—including one butt-hole whistler whose "mouth selfies" can be heard throughout. The audience's adulation sounds over the top but was clearly genuine.

Bennett was no Belafonte at the time in terms of working a crowd or ingratiating stage patter and the between song material lacks the polish and "you're the only person in the audience to whom I'm talking" magic that Belafonte managed, but once Bennett opened his mouth to sing, his vocal and emotional power were undeniable. That he's still at it, and is as popular as ever with music lovers or all ages is a testament to his talent and his ability to remain contemporary and relevant in an era where so much has changed since 1962. On the other hand talent, a good band and great songs will never go out of style even if the latter two have all but disappeared on the pop charts (there's still plenty of talent including, IMO Mylie Cyrus) and Lady GaGa who recorded an upcoming album with Mr. Tony Bennett.

Tony Bennett has long reminded me of Bruce Springsteen, physically and vocally. If you don't get the connection Bennett's song/story closer here "De Glory Road" will make it.

This reissue is incredible in every way, starting with the cover art. The laminated cover's front and back photos are of far higher resolution and quality than the ones on the original. The same is true of the inside cover photos that include the full wide orchestra shot cropped on the original. But most importantly, the mastering by Ryan K. Smith from the original 3-track master tapes is nothing short of astonishing. It offers proof to anyone who will listen, both that AAA vinyl kills any digital format and that the art of recording, especially live recording, reached its pinnacle during the '50's and '60's.

You'll be transported, entertained, wowed and amazed by both Bennett's and the orchestra's performances and the sonic documentation. It goes without saying that this is highly recommended, but I said it anyway."

More Information
Condition New
Format 2LP, 180 Gram
Color Black